Camera Austria International

41 | 1992

Symposion on Photography XII, Part II
The Public Image

Price

25Add to cart

  • DAVID ROBBINS
    Out of Camera Range
  • RUDOLF BONVIE
  • ANTONIN DUFEK
    Private and Public Pictures
  • WERNER FENZ
    From the Dark Cave to the Camera Lucida
  • SALLY STEIN
    Close Encounters With Photomontage

Editorial

With CAMERA AUSTRIA no. 41 the  contributions to the 12th Symposium on Photography (theme: Public Images) is completed. The essence of that debate- which brought together under one theme representatives of contrasting positions i order to outline, in contributions of varied orientation, a thematic problem area rather than attempting to provide ready answers – not only characterizes the contents of this issue but also the overall program of CAMERA AUSTRIA. Another characteristic of the Symposium on Photography is the presentation of theoretical or historical contributions side by ice with contributions by artists who may provide texts to define the artistic context of their oeuvre: David Robbins is a case in point. Other artists- Rudolf Bonvie, for instance – prefer to confront the viewer only with their work. It will therefore be necessary to treat the various contributions as something may than illustrations or commentaries.

Full text

Camera Austria International 41 | 1992
Editorial

With CAMERA AUSTRIA no. 41 the  contributions to the 12th Symposium on Photography (theme: Public Images) is completed. The essence of that debate- which brought together under one theme representatives of contrasting positions i order to outline, in contributions of varied orientation, a thematic problem area rather than attempting to provide ready answers – not only characterizes the contents of this issue but also the overall program of CAMERA AUSTRIA. Another characteristic of the Symposium on Photography is the presentation of theoretical or historical contributions side by ice with contributions by artists who may provide texts to define the artistic context of their oeuvre: David Robbins is a case in point. Other artists- Rudolf Bonvie, for instance – prefer to confront the viewer only with their work. It will therefore be necessary to treat the various contributions as something may than illustrations or commentaries.

Among the contributors to this issue it is particularly Sally Stein and Anotnin Duefek who deal with the concept of publicity on a sociopolitical level: Sally Stein presents materials  from US publications in the thirties, investigating the use of photo-montage, a technique whose propagandist effects were a guiding principle in contemporary Europe and the USSR while the USA seemed to cling to an integral concept of photography. Her conclusions link the claim to privace and individuality to a use of images in which the margin  ad the frame take on metaphoric meaning. Antonin Dufek assumes a changing  claim to publicity in the post-communist era in the CSFR when he examines the covers of the Czech weekly “Mlady Svét” (Young World) for “new” images or evidences of social change. Werner Fenz discusses the concept of the public image in connection with an in publicity for our publicist and against the background of conceptual, sociocritical art forms in the seventies.

With an essay on architecture in the fifties by Sigrid Hauser and longer text on Andy Warhol’s social photography the editorial section of this issue brings additional material to the debate on the public image. Principally, CAMERA AUSTRIA also attempts to create publicity for our publicist and artists colleagues by reviewing books and exhibitions . This issue contains the over-due index for CAMERA AUSTRIA no. 29/1989 through no. 40/1992, facilitating research on topics dealt with in back issues.

The current issue completes the 1992 annual set. Issue no. 42 will be published in February 1993 with articles about Rudolf Schwarzkogler, Silke Grossmann and Brois Mihailov. Hoping that our readers will bear with us, we have decided that, after a four years’ break, it has come necessary to once more raise the subscription fee of CAMERA AUSTRIA.

Christine Frisinghelli

Contributions

Forum

MARTINA KUNZE

BOB NEGRIJN

VELI GRANÖ

KLAUS ELLE

SIMON DENT

STEFAN SCHILLING

PETER VON FELBERT

JUHA-PEKKA INKINEN

DAVID BATE

RITVA KOVALAINEN

URSULA TREBITZ

ANDREW PODNIEKS

Exhibitions

“DIE FORM DER ZEIT” ALS AUSSTELLUNG VON GANG ART / Zur Fotografie von Margherita Krischanitz und Lucca Chmel
SIGRID HAUSER

LANDSCHAFT ALS METAPHER / Die dritte Fotografie Biennale Rotterdam
THILO KOENIG

RÜCKBLICK AUS EINER DIGITALEN ZUKUNFT
FRANZ NIEGELHELL

DAS OBSKURE OBJEKT DER BEGIERDE / Andy Warhols Gesellschaftsfotografien
HUBERTUS BUTIN

DER FOTOLADEN
PIA LANZINGER

HELVETIA CONDENSED
PIA LANZINGER

EINFÄLTIGKEIT UND MEHRFALTIGKEIT: SCHRIFT UND BILD IN DER KLAMMER TECHNISCHER MEDIEN. Zum VIII. Symposium “Psychoanalyse-Literatur – Literaturwissenschaft”: Visuelle Realitäten – Die Welt als Text und Bild
IRIS DÄRRMANN

DIE AUGEN, DAS GESCHLECHT UND DER COLT / Robert Mapplethorpe in Humblebaek, Hamburg und Venedig
THILO KOENIG

ZUSTANDSBERICHTE/ Die IfA – Ausstellungsreihe wurde um Fotografien aus der DDR erweitert.
THILO KOENIG

FALSCHE WAHRHEITEN! Einspruch gegen neue alte Mythen: “Edward Hopper und die Fotografie” im Museum Folkwang Essen
THILO KOENIG

Books

SANDY SKOGLUND
KERSTIN BRAUN

AFTER-IMAGE = NABEELD
ELISABETH BÜTTNER

HERBARIUM / Zeitgenössische russische Fotografie
KERSTIN BRAUN

RÄUME
KERSTIN BRAUN

NATURITA
KERSTIN BRAUN

UNTER HUNDEN
KERSTIN BRAUN

Imprint

Publisher: Manfred Willmann.
Verein CAMERA AUSTRIA, Labor für Fotografie und Theorie
FORUM STADTPARK, Stadtpark 1, A-8010 Graz

Editor: Christine Frisinghelli
Editing Team: Reinhard Braun, Friederike Lenart, Jutta Mayer

Translation: Klaus Feichtenberger, Wilfried Prantner